Dot Hacker, the experimental rock band based in Los Angeles, California was formed in 2008 by Josh Klinghoffer.  Klinghoffer, Clint Walsh and Eric Gardner were all previously members of the touring incarnation of Gnarls Barkley, and were subsequently joined by Hella bassist Jonathan Hischke to record the much-anticipated “Inhibition” to be released by Org Music on May 1st.In two senses of the title track, “Inhibition” does seem to define Dot Hacker’s debut album. That is, in relation to the music’s melodic structure as a "check on an expression of an impulse" perhaps as stated in Dot Hacker’s press release “the music… is architectural, built on a foundation of bold, manipulated tones.” Or, the other sense of "to hold in, restrain, hinder.” The later may allude to the delayed release of the album. As Hischke has been quoted as saying “the completed album was in purgatory for a while as we all did different things.”These “different things” include varying members serving as recording and touring musicians for marque artists like Beck, PJ Harvey, Charlotte Gainsbourg, The Butthole Surfers and Broken Bells. And, the recent role Klinghoffer took with rock giants, Red Hot Chili Peppers.  Klingoffer helped to pen the recent RHCP album, “I’m with you”. Oh, and he joined the band in being inducted into the Rock n’ Roll Hall of Fame.Klinghoffer founded the band, Dot Hacker, where he holds the position of primary songwriter, singer, rhythm guitarist and pianist.

Trevor Robbins’ solo project, Lowlander, is a Folk infused singer/song writer’s safe haven.  In his self-released album “Criminal Mischief”, Robbins’ soft howl steals away like a reverb wind into the western hillside. The acoustic landscape of this album has rich finger-picked textures which blend warmly with Robbins’ dusty, melodic voice. Occasionally, this Boulder multi-instrumentalist shows signs of psychedelic folk when accompanied by electronic percussion and intertwines keyboards for an atmospheric effect.Dappled with musical interludes, “Criminal Mischief” has moments of honest and insightful song writing. Robbins’ captures life in Colorado with “Hawthorne” where he calls to mind, “Up in in the mountains there’s a town no one knows about it/ in this town everyone’s happy/ and it’s called heaven, but it’s called purgatory too/ It’s a place where you’ll make a living but it’s all you’ll ever do.”It seems that Robbins, with this self-released album, finds himself situated in a place where he is making a living, but is still exploring his boundaries. Perhaps “Criminal Mischief” is the result of roaming the gulches and lowlands, and finding a place to kick up a little dust.Listen and download the album at: http://soundcloud.com/lowlandercriminalmischief

The Shook Twins sophomore release, Window is full of frolic and romp. The Portland, Oregon, "Quirky Folk Trio" features identical twins Laurie Shook (vocals, banjo, percussion and beatboxing) and Katelyn Shook (vocals, guitar and mandolin), with Kyle Volkman on bass. Released in April 2011, Window redefines Folk with hair-raising harmonies and an eclectic blend of resonating roots, precocious pop and foolhardy fun.

Chicken bocks, glockenspiel, and wah-wah Banjo abound. Swaddled in this harlequin colored quirkiness, Kyle lays down the groove. Reveling in melodies ready made for a Saturday night or Sunday morning, these toe-tappin’ twins sing with a traditional bend. “Shine On” mixes the twinges and twang of banjo with soft whispered harmonies. The Shook Twins’ song-writing dexterity is displayed in “Potter’s Daughter”, a narrative of a classic backwoods boon. With this new album, The Shook Twins send shivers and shouts!

The Shook Twins Shake Things Up in Colorado

Poised for a summer tour, the Portland Folk Trio had plenty to talk about:

GW: Hi Gals, you seem to be gaining lots of momentum on the West Coast. Your song "Rose" was featured in NPR's Muse Mix, you’ve appeared on nationally syndicated radio show "Live Wire", and recently opened two shows for the Carolina Chocolate Drops. With all this great exposure, do you have a few tricks up your sleeve to keep the audience on their toes? Any surprises you can share for the upcoming tour?

ST: We hope to add more musicians to the team. We have been playing a lot around Portland with an amazing drummer Russ Kleiner (of the Tony Furtado band) and fiddle player, Anna Tivel.

GW: On the new album, Window, your song-writing shines through. There are several tones, varying perspectives, and seemingly honest stories. When writing for the album, did you write separately and then share, or was it more of a collaborative effort on each song?

ST: It was both. Our song writing methods vary each time. Though it's often Katelyn that writes the lyrics and basic guitar part, and then Laurie adds her flare of banjo, looping percussion, harmony, or something else entirely.

GW: Growing up, did you always have the same taste in music? Say…in a long car trip, who controlled the radio?

ST: Yes we do have the exact same taste in music, then and now. Our favorite artists are Laura Veirs, Lost Lander (of Portland), Bon Iver, Ani Difranco, Bob Dylan, The Beatles, etc...

GW: I understand that you are good friends with Colorado-natives, Elephant Revival? How did you come together and decide to collaborate musically?

ST: We met through our manager Phil (Phil Einsohn of Sweetwine Entertainment), when we were touring CO in 2007. He told us to call Bridget Law and ask her to sit in on fiddle for a few of our songs at the First St. Pub in Nederland. We left a nervous message, and were delighted to see her and the rest of Elephant Revival show up to the show. Bridget and Bonnie played basically the full 3 hour set with us! Then we stayed at their house and jammed till the wee hours of the morning. We've been collaborating ever since!

GW: A leg of this summer tour barrels through Boulder, Denver, and then Bond. This last stop you play an event called Campout for the Cause that promotes a pair of non-profits. Can you tell us a little about these causes, and how you became involved in the charitable mini-festival?

ST: We got involved with this family style mini-festival through Elephant Revival. The folks that put it on are dear friends of Bridget Law and she suggested us to come and join the family. We are always down to support non-profits and play music for the good cause of helping The Realm of Caring build a free mini-camp for underprivileged children at State Bridge, and helping All Hands Volunteers provide hands-on assistance to survivors of natural disasters around the world, with maximum impact and minimum bureaucracy. This festival sounds wonderful and exactly what we like to be a part of.

GW: Thank you for speaking with Grateful Web. Congratulations on the recent album and well-deserved recognition. Have a great tour, and we look forward to seeing you in Colorado!

ST: Thanks so much. We are so excited to come back to CO, it's been too long! We've been meeting some great Colorado musicians out here. We just got the opportunity to open for the phenomenal guitarist, Trace Bundy at the Triple Door in Seattle, WA. Also we are honored to open for the legendary Dan Hicks and the Hot Licks at the Soiled Dove in Denver on May 26th!

The Shook Twins are on tour in support of their sophomore release, Window, this summer. Find dates for their Colorado jaunt below:

The Shook Twins in Colorado:

5/28 - Southern Sun - Boulder, CO
5/26 - Soiled Dove – Denver, Co (Opening for Dan Hicks and the Hot Licks)
5/27 & 5/28 - Campout for the Cause in Bond, Colorado (Both 12 PM Daytime sets)

For the Full Tour, visit: shooktwins.com/shows

Nestled high in the foot hills of the Poudre Canyon, the legendary Mishawaka Amphitheatre rests on the rocky banks of the Cache de la Poudre River. For the past 8 years, the Mish has served as the spring stopping ground for Ft. Collins’ favorite sons. And once again, this Saturday, May 12th, opening weekend arrived. It was time to Head for the Hills. One by one, the chartered buses bandy about, climbing and twisting up the winding corridor. Anticipation waxed and waned around each bend. Until suddenly, the rich brown wood of the Mishawaka, darkened by the evening rain, revealed itself in thick fog. The drivers down shifted and rolled to a stop. Eager faces filed out into the damp air and gathered in front of the single stage amphitheater originally known as The Mishawaka Dance Hall (circa1919).

While the attendees entered, they were welcomed by local friends, Finnders & Youngberg. This veteran group is known and respected for their song-writing prowess and former Rockygrass Fiddle Champ, Ryan Drickey. Kansas trio, Split lip Rayfield, followed with their signature “mix of bluegrass and country with an accent of metal.”  Music aside, the most noticeable instrument on stage was the one string, homemade gas-tank bass played by Jeff Eaton.

Night had fallen, the stage was set, and Head for the Hills were rocking Adidas tracksuits in honor of the recently deceased Adam "MCA" Yauch of the Beastie Boys. The Colorado acoustic quartet composed of Adam Kinghorn (Guitar), Michael Chappell (Mandolin), Joe Lessard (Fiddle), and Matt Loewen (Bass) known for their homegrown, symbiotic improvisation played an assortment of studio stand outs that were anything but standard. Head for the Hills have an innate chemistry, and their live performances pulsate and peak with the musical momentum rarely seen in any genre. Opening night at the Mish is a homecoming of sorts, and this intimate venue provides Head for the Hills an opportunity to rollick in free-spirited jamming.

By intermission, the Poudre Valley landscape had transformed into an obscure western silhouette. With the stage filled with smoke and mist dissected by strobe lighting, Head for the Hills emerged to the applause of an energetic crowd. The second set was a whirlwind of crowd favorites and extended improvisation with Michael Chappell unleashing a torrent of solos on his red electric mandolin. Highlights of the show were covers of Johnny Cash’s “Don’t Take Your Guns to Town” and Peter Gabriel’s “Solsbury Hill”. And of course, an appearance by Mike Finders on harmonica.

Opening night at the Mishawaka Amphitheater is always a special event, marking the beginning of amazing summer shows. But if you couldn’t make it this year, let Head for the Hills console you with their first official Live release “Head for the Hills – Live,” available on May 29^th. Culled from 5 great nights in Colorado, including sets at the Aggie and Mishawaka Amphitheater, this Live album showcases the improvisation and energy that has made Head for the Hills an emerging Bluegrass powerhouse.

If “Head for the Hills – Live” doesn’t give you the H4TH fix you need, you can find them on tour starting June 1^st. For more detail check out their website.

On his seventh studio album, Spirit Bird, Xavier Rudd’s gritty voice rises like dust from underneath the dancing feet along an ancestral Songline. In a modern world of industrial landscapes filled with neon signs, it’s hard to “imagine if the trees could tell us where to go.” Yet, Rudd introduces listeners to Australian Aboriginal mythology with songs such as “Creating a Dream”. Dreaming is the sacred era of ancestral Totemic Spirit Beings who formed The Creation. The Aboriginal people ritualistically travel these songlines singing the world into a re-creation. This latest creation from Australian singer, songwriter and multi-instrumentalist gives voice to socially-conscious themes that continue to be the plight of Aboriginal peoples. But Spirit Bird also brings solace to modern man. Each track on Spirit Bird seems composed of ceremonial rhythms, with an eclectic acoustic collection of blues, reggae, and indigenous folk music. In addition to playing the didgeridoo, stomp box and percussion, Rudd inserts melodic call-and-response vocals that are a traditional accent. “Culture Bleeding” unleashes a trance-inducing didgeridoo amidst guttural chanting, intricate drumming, and animist spiritual choruses. All of Rudd’s tracks and song lines are pensive, and reveal the writers patient and earnest approach. On Bow Down, perhaps you hear Xavier Rudd’s message to modern man, “I know we all have busy lives, but sing along if you have the time.”Suggested reading: Bruce Chatwin’s The Songlines

The Devil Makes Three live release, Stomp and Smash is more than a title; it’s a review in itself. Recorded over two sold-out nights at the Mystic Theater in Petaluma, CA, these bluegrass Santa Cruzaders’ are hell bent with a raucous punk spirit. Spewing a sound about as smooth as whiskey, this trio of Pete Bernhard, Cooper McBean, and Lucia Turino are propped up by acoustic guitar, banjo, and stand-up bass. Stomp and Smash features bluegrass, jazz, and americana fiddler Andy Lentz. This live album boasts a cover of The Allman Brothers Band’s "Statesboro Blues" and two brand-new songs, "This Life" and "They Call That Religion”. Stomp and Smash: Live at the Mystic Theatre is sure to fire you up for live rockabilly debauchery. The Devil Makes Three will be rummaging through souls this summer festival circuit, with highlights including Bonnaroo, Telluride Bluegrass Festival, and Lollapalooza! For more touring info, visit: http://www.thedevilmakesthree.com/shows.php

Eliot Lipp’s recent album, Shark Wolf Rabbit Snake, may be a mouthful but it’s definitely tasty. A connoisseur of hip-hop, jazz fusion, folk and techno, Lipp blends genres together but still leave some chunky knock. Just listen to “On N’ On”. He has distinguished himself as a producer’s producer, and as the newest edition to their family on the Pretty Lights Music, The Record Label you find the dexterity and intuition of a seasoned vet. Break, buzz, glitch, and treble Shark Wolf Rabbit Snake has moments of pure magic. Lipp seems to perform prestidigitation on the tracks. Yet, behind the smoke and mirrors is an artist who never settles for slight of hand samples. Lipp’s music has a substance, undeniably, a controlled substance. Lipp’s style implements a melodic, mature sonic landscape capable of making the head nod, the foot tap, and the donk shake!

Grateful Web recently caught up with Eliot Lipp while on tour to talk about the recent album, Shark Wolf Rabbit Snake:

GW: Hi Eliot, thanks for taking some time to discuss the recent album with Grateful Web. I really enjoyed listening to Shark Wolf Rabbit Snake, man that is a mouthful. Can I just ask what is a Shark Wolf Rabbit Snake, and how did it come to grace the cover and title of your new album?

EL: My friend Daniel lives around the corner from me in Greenpoint, Brooklyn. He made the drawing of a shark eating the wolf eating the rabbit eating the snake and I saw it at his house one day and just knew right away it was the cover art & concept for the album I’d been working on. I asked him what he titled the drawing and he said Shark Wolf Rabbit Snake. It’s a similar story to how my album Peace Love Weed 3D came to be, that artist was Zoe Langer. An amazing graphic designer here in NY.

GW: (follow up) Does Shark Wolf Rabbit Snake also designate 4 different phases of the album? If so can you explain?

EL: The album isn’t really split into phases, I just try to get tracks that work well next to each other, sort of like a DJ mix. The title tracks were originally interludes about 30 secs long but when I went to Derek’s house and played them for him, he suggested I turn them into full tracks. This took me a while but I eventually finished them and now they are some of my favorites on the album.

GW: It definitely is an aptly named album. There is such a barrage of genres, some of the most discernable elements are electro, soul, and hip-hop. But by the time we reach deeper into the album say tracks like “Wolf”, listeners can hear jazz fusion. 70’s artists like Return to Forever, Weather Report, and Herbie Hancock’s Headhunters (or even his solo Rock It)were pioneers of crossing genres. Who are some artists who broke down borders for you?

EL: I was first drawn to early 70’s fusion Jazz because there was a moment where musicians were experimenting with Modular synthesizers, Moog’s, Arp’s and different synths. The clash between traditional instruments and crazy effects really tripped me out, I always love a good soundclash. George Duke would have to be a favorite of mine when it comes to artists that get experimental as fuck on their records and don’t even try to play it off.

Jeff Mills is a Detroit Techno legend and one of my favorite producers. He went through a period were he was attempting to put all of his influence into every track at once and hearing those record really struck me and reminded me of what I’m trying to do. He ultimately created his own genre of music and he still plays badass sets all over the world. Miles Davis of course because of how much he changed everything by refusing do things any way but his own. And The Alchemist is a huge favorite of mine because unlike some artists that prove themselves by going their own way he has stuck to a rigid formula of very traditional hip hop production and absolutely KILLS! Honestly I think he might be the best hip hop producer of all time.

GW: There is a large vocabulary of music being articulated on this album. I have to ask, laundry list style, name some of the samples or the artists on this new album that your fans can go track down and listen to.

EL: There are too many to name, and I’m already risking getting sued so I’ll be vague. Early 70’s jazz on Impulse, 80’s Italian Disco, 90’s R&B Acapellas, Stereolab, Chic Corea, Tom Tom Club…

GW: As a solo artist especially with your style of music, how do you approach working on an album like Shark Wolf Rabbit Snake? Is there any collaboration that goes into your process or is it more…go into your studio, shut the door, put on your headphones and do work.

EL: A few of these track began as collaborations, or samples, or a version of an unfinished remix that I hijacked. Every one of my songs usually begins with a sound or idea that I didn’t come up with and me working as much of my own sound into it as possible. I feel like I’m very gradually building my own sound as an artist, over years of work carefully crafting my own sound. I get shit sometimes for sampling or copying melodies from other songs but that’s just the way it goes.

GW: You have been on the scene for a while, and you can tell you have really matured into a pioneer in your own right. On this recent album, you recorded with Pretty Lights Music, The Record Label. How did you meet and ultimately decide to work together?

EL: I met Derek (Pretty Lights) a few years ago in Colorado and have gone on some tours and done some shows with him since. He once remixed one my songs and we’ve worked on some collaborations together so it’s pretty natural to do this release on his label.

He’s had so much success with his own music it’s really inspiring to see, and it’s cool that he’s able to help out other artists.

GW: You are currently on a summer tour promoting your new album, what do you have in store for your fans, maybe during your different release parties? Are you touring with any other musicians or planning to share the stage with any acts along the way?

EL: At my album release party in NY and at Camp Bisco I will have a full band with me. Rehearsing has been fun and it sounds awesome so far. I’m bringing more gear out to my shows lately as well, my midi controllers are fun but live synths & FX are always cool to have on stage.

GW: This new album has been described by your camp as “heavier and more aggressive, with tracks that build tension and suspense.” Is this a result of touring and performing in front of crowds? Or perhaps could you give us a little insight to your aggressive approach?

EL: I love playing unfinished tracks for crowds & seeing their reaction. It’s helped me with just about every one of my new songs. Except for a couple that I’m like “I don’t give a fuck what people think of this track I’m just gonna do it my way”.

Once I saw the cover art and decided the theme was about these vicious animals attacking I decided to bring in some moments of anticipation and create more depth. It was a challenge with some tracks that were based mostly on funk or mellow samples to get the energy level up where I wanted it.

GW: Shark Wolf Rabbit Snake is available for download, and it’s free! How does making your music more accessible translate into your live performances? Is there more of a shared experience between you and your fans?

EL: Everyone’s music is available to download for free these days, PLM just posts a link for their artists. That’s one of my favorite things about the label, they’re realistic and forward thinking. I always try to make a connection with the crowd at my shows, My energy feeds off theirs and vice versa. I love those moments when you feel like everyone in the venue is connected through the music.

GW: Before we wrap up, I want to thank you again for speaking with Grateful Web. Also, I just want give you an opportunity to speak directly to your fans, is there anything you’d like to say to them regarding the new album or this summer tour.

EL: Thanks for supporting my music. Come check me out when I come to your town.

Download the entire album at www.prettylightsmusic.com/therecordlabel.

SUMMER TOUR DATES

6/17     Impulse Music Festival :: Union Point, GA

6/22 - 6/23 Camp Coldbrook Music and Arts Festival :: Barre, GA

6/29     Mercury Lounge :: New York, NY (PLM Album Release Party)

6/30     Pex Summer Festival @ Ramblewood  :: Darlington, MD

7/13 - 7/14  Camp Bisco Festival :: Mariaville, NY

7/20     Crowbar :: Tampa, FL

7/21     Bardot :: Miami, FL (PLM Album Release Party)

7/22     Club TSI Discotheque :: Jacksonville, FL

7/26     Cervantes Masterpiece Ballroom :: Denver, CO (PLM Album Release Party)

7/27 - 7/28     River Beats Festival :: Bond, CO

8/9       Gnarnia Festival :: Beech Mountain, NC

8/15     Barcelona :: Austin, TX (PLM Album Release Party)

8/16     Fitzgerald's :: Houston, TX

8/17     Ghost Bar :: Dallas, TX

9/2       Electric Zoo :: New York, NY

With the recently released EP titled Pull Factors, the New York based instrumental rock-fusion quartet Tauk has exploded on the music scene. But long before this summer’s myriad music festivals, Junior High friends, guitarist Matt Jalbert, bassist Charlie Dolan, and keyboardist Alric "A.C." Carter cultivated an eclectic collective. Pull Factors harnesses diverse genres of music into a singular sound that ultimately give voice to Tauk’s crystalline instrumentals. Propelled by drummer Isaac Teel (joined in 2012), Tauk builds from ethereal phrases into darker, embroiled moments of dense arrangements. This is best exemplified in “Side Project”, which shifts in tones before accelerating into an electronic-perpetuated climax. “Home To Me” opens the EP with jazz fusion influences reminiscent of 70’s artist. Yet, Tauk is able to articulate their unique musical vocabulary, a composite of over a decade playing together. Pull Factors was recorded by veteran sound engineer, Dave Natale (Rolling Stones, Fleetwood Mac), and mixed by Grammy-winning producer Robert Carranza (Jack Johnson, Mars Volta). The EP is available as a free download at http://taukband.com

This summer, Tauk is on the road supporting their recent EP along the summer festival circuit. Grateful Web was fortunate to catch up with them for this interview:

GW: Hey Guys, thanks for speaking with Grateful Web. I just want to jump right in and talk about “Pull Factors.” There is a great balance of genres in your sound. Dynamics of a band are always interesting, the personalities of members and their musical influences, how do these factors pull on your sound as a whole? How do you reach such a great balance?

Tauk: All those factors pull on our sound in many different ways. All four or us are different people from different backgrounds, and each have something unique to say. Each of us uses our varying influences to make an individual statement in terms of what we bring to the band. However, what is more important is how we blend each voice into a composite sound that we can identify ourselves by. We try to do what comes naturally and feels the most comfortable.

GW: You guys have degrees from some of the top music universities and conservatories, what kind of music did you study and how did it alter your sound, say from your earlier years?

Tauk: While away at school, we were exposed to a plethora of genres and styles of music which had a great affect on how we approached our sound. Studying world music and culture was huge for me because it exposed me to musical techniques that are not implemented often into western music. I tried to pull everything from rhythm to texture and harmony from my college experience to enhance the dynamics within our sound and compositions. Though we always tried to incorporate other influences when we were younger, being able to learn how to actually apply these techniques gave us a much better appreciation for music.

GW: On Pull Factors, you worked with a couple of veterans: sound engineer Dave Natale (Rolling Stones, Fleetwood Mac), and producer Robert Caranza (Jack Johnson, Mars Volta). How did this opportunity arise? Also, describe what it is like to work with them. Was it intimidating to voice your opinion when you are working with these big names?

Tauk: We’re very lucky that Robert and Dave both came across our material and even luckier that they wanted to help us achieve our musical vision. As two well-established contributors in the music business, the kind of exclusive insight they were able to share with us has been priceless and enlightening. In no way did we feel intimidated to voice our opinion despite their respective track records and I believe that speaks to the kind of people they are. Everybody is on the same team and in my mind and Robert and Dave become another member of the band respectively when we’re working together. I don’t believe they would work with us if they didn’t believe in what we’re doing. And for that I feel truly thankful and blessed.

GW: A lot of artists are releasing free albums. I see you have a free download for “Pull Factors” on your website. Do you see more accessible music as way to meet new audiences? I’m sure your fans appreciate it. What’s your philosophy behind that?  

Tauk: Absolutely. The more accessible your music is, the easier it is for people hear your music. What better way to get it out there than giving it way for free. Personally, I think the CD should be an appetizer for the live show.

GW: After forming 10 years ago as teenagers, you are playing the summer music festivals. Years ago, did you guys ever make any summer road trips together? What were some of the festivals or concerts that you guys remember from your more “informative years”?

Tauk: Whether we were playing music festivals or attending them, we’ve been all over the country chasing music. I recall my first time attending Bonnaroo in 2006 and the following year playing at the Gathering of the Vibes. Also, seeing the Beastie Boys and Stevie Wonder at Madison Square Garden. I could go on and on...

GW: Hanging out as youngsters, what were some of your dream venues or festivals?

Tauk: Playing at Radio City Music Hall and/or Madison Square Garden has been on my list for a long time now. Still working on it.

GW: Speaking of the summer music circuit, festivals you have played include: Bonnaroo, The Hangout Fest, and The Summer Camp Music Festival. That’s quite a line-up, what are some of the more memorable moments so far this summer?

Tauk: At Bonnaroo I enjoyed seeing the bands I look up to like Radiohead, The Roots, Little Dragon, BlackStar, and John Medeski in such close proximity. Being able to see how and what they do and the pleasure it gives them is truly inspiring. I never got a chance to see Jack White prior to The Hangout and was really impressed by his set. His energy and focus really came through. And last but not least, seeing bands that are workhorses when it comes to consistently touring like moe. and Umphrey’s McGee. Seeing the loyalty and dedication their fans have makes me want to work even harder.

GW: With the release of the EP, and a great reception on tour, do you have any plans to release a full-length album that your fans can look forward to?

Tauk: Yes we do. We’re always working on new material and its getting to be that time where we’re planning to head back into the studio. So keep an ear out for new material!

GW: Thanks again for speaking with Grateful Web, I like to leave the last question open ended to let you speak directly to your fans. While you’re on the road, is there anything you’d like to share?

Tauk: We truly believe in what we’re doing and to be in a position to share our music with fans and listening audiences is something that is very personal and very special. Some of the best experiences and lessons we’ve learned, whether on road or in our daily lives, can all be attributed to the power of music. This is a lifestyle and an attitude we all want to continue. Much thanks to our friends and families and fans for your consistent support!

Download the EP, Pull Factors.

Find Tauk on Tour.

MilkDrive delivers jam-grass to friendly Ft. Collins’ neighborhood Hodi’s Halfnote. Early July found this Austin string band out west touring familiar stomping grounds. MilkDrive members Noah Jeffries (Guitar, harmony vocals
), Dennis Ludiker (Mandolin, harmony vocals
), and Brian Beken (Fiddle, lead vocals) met as youngsters competing in the National Oldtime Fiddlers’ Contest in Weiser, Idaho. Once relocated to Austin, they were joined by 
Matt Mefford on Double Bass. Since then, MilkDrive has been in route along the summer music circuit supporting their sophomore studio album WAVES (recorded at Mountainside Audio Labs in Nashville, produced by Bil VornDick).

Hodi’s Halfnote provided an intimate setting, a breather from the hectic festival touring. With many friends and familiar faces in the crowd, MilkDrive performed a number of originals off their recent album, including “Papers on the Table” (Drew Smith) and title track, “Waves”. Their live show highlights the dexterity of MilkDrive, who delve into instrumental tracks like “Benny’s Bus” with an intensity that conveys their passion and improvisation of traditional Bluegrass. MilkDrive performed an interesting cross-genre cover of “Dear Prudence”. This cover also appears on Waves with special guest Futureman (of Bela Fleck & the Flecktones).

After the show, Grateful Web spoke with Noah and Brian of MilkDrive:

GW: On the recent album, Waves, there are special appearances. Could you share who they are and how that came about?

Brian: We we’re fortunate enough to have Roy Wooten, Futureman from Bela Feck and the Flecktones who did a bunch of the percussions on one of the songs we did, Beatles cover “Dear Prudence” that we did tonight that sounds way more heady on the album. The other one is one we tried to put on our last album that we sort of set aside then we re-recorded for this new album with Noam Pikelny of Punch Brothers who played banjo on it and it turned out super awesome, exactly how we wanted it.

GW: How did you get hooked up with them?

Noah: Working with our producer, Bil VornDick, Futureman lives down the road. Bil believed in our project and reached out to these artists and helped us out, which is amazing.” Bil called Futureman and was like “Hey, I know you’re leaving on this day but I have these guys from Austin, they need some percussion.” I was like “Who’s he talking to? Do we need percussion? I guess we do. Could we do it ourselves?” Next thing I know Futureman is in the studio and we were like “Oh, that’s who was talking to!”

Brian: Its good to have a producer that knows those artists and knows what would fit the song. He was respectful of our opinion, especially for a new band.

GW: This summer where have you been, what are you looking forward to?

Noah: We’re will be doing 7 or 8 festivals this summer, The Summer Music Festival in Idaho, Blissfest Folk and Roots Music Festival, and Grey Fox Bluegrass Festival in New York playing with Hot Rize. We’re looking forward to returning to Colorado for Yarmonygrass in Bond that Elephant Revival got us on to. We all grew up together with the fiddle player, Bridget Law.

Brian: “I really dig this generation and the embracing that’s going on, it’s not a competition, we’ve all been buddies and are like let’s help each other out, its really nice.

Upcoming Colorado shows:

For full tour dates visit: http://milkdrive.com/calendar

Chatham County Line releases the live album and DVD Sight and Sound, recorded in August 2010 at Raleigh’s Fletcher Opera Theater. This collection of the North Carolina quartet offers an in-depth look of the bluegrass band’s decade-long discography. Now available on Yep Roc Records, Sights and Sound includes in-depth interviews with Dave Wilson (songwriting , guitarist, Singer) who describes this project as “a loose Greatest Hits.” Sights and Sound represent the earlier milestones of Chatham County Line’s career, dating back to the first Chatham County Line record in 2003. Title tracks are included from Route 23 (2005) and Speed of the Whippoorwill (2006). However, with the original Fletcher performance on the heels of Wildwood (2010), it is understandable that most of this collection is representative of more recent recordings.  Musically, this live album is impressive. John Teer (guitar, fiddle, mandolin, back-up vocals), Chandler Holt (banjo, dobro, guitar), and Greg Readling (bass, pedal steel guitar, back-up vocals) provide stellar harmonies and lead fills. “Alone in New York” and “Crop Comes In” open the album with softer melodies and southern perspective before opening in to the rollicking “Birmingham Jail”. Chatham County Line’s signature “one microphone” approach provides a close knit sound throughout the performance. The whole album is richly recorded and really does offer audiences a “Greatest Hits” experience.  In addition to the live album, the DVD includes fan favorites “One More Minute” and “Porcelain Doll”.Almost two years after their first Fletcher concert, Chatham County Line will be returning to Raleigh’s Opera Theater as part of their tour to support this latest release, Sight & Sound. For the full tour, Click Tour.Chatham County Line – Sight & SoundCD/LP:1. Alone In New York2. Crop Comes In3. Nowhere To Sleep4. Birmingham Jail5. By The Riverside6. Route 237. Gunfight In Durango8. Whipping Boy9. Rock Pile10. Speed Of The Whippoorwill11. The Carolinian12. Clear Blue Sky13. Closing Town14 Wildwood15. Chip Of A Star16. Let It RockDVD:1. Crop Comes In2. Gunfight In Durango3. One More Minute4. The Carolinian5. Speed Of The Whippoorwill6. Birmingham Jail7. Clear Blue Sky8. Closing Town9. Blue Jay Way10. Chip Of A Star11. Let it Rock12. Porcelain Doll13. End of the Line

Jimmy Herring’s second solo album, Subject to Change Without Notice -available via Abstract Logix- is an instrumental album inspired by the human voice. Herring reveals on his website “It’s ironic: I play instrumental music and all I want to do is be a singer.”  Yet, his iconic playing style has a voice of its own. With an extensive vocabulary that spans almost 40 years. Herring studied guitar at Berklee College of Music and the Guitar Institute of Technology before becoming a luminary in the Jazz Fusion scene. Currently the lead guitarist in Widespread Panic, Herring has an impressive resume: Allman Brothers, the Dead, Phil Lesh and Friends, Colonel Bruce Hampton and the Aquarium Rescue Unit, Frogwings, Jazz is Dead and his co-lead trio Project Z.Jimmy Herring Band members are Jeff Sipe (Drums), Matt Slocum (Piano/Keyboards), and Neal Fountain (Bass). This quartet’s expansive curriculum vitae is a mind blowing collective look at some of the most influential artists in Classic Jazz, Jazz Fusion, Rock, and Jam Band genres. Subject to Change Without Notice, produced the legendary John Keane, features guest artists that represent the Jimmy Herring Band’s well-rounded talents. Featured artist include, Bill Evans, Béla Fleck, Etienne Mbappe, Nicky Sanders, and his son Carter Herring.Subject to Change Without Notice features a majority of originals with covers of Mahavishnu Orchestra’s “Hope”, George Harrison’s “Within You, Without You” and Jimmy McGriff’s “Miss Poopie”. For the Panic fans, “Kaleidoscope Carousel” sounds like an instrumental from Dirty Side Down, which might have evolved from Herring and Keane working together on that album with WSP. And as long as comparisons are being made, the classic Jazz-Rock Fusion of “Bilgewater Blues” sound reminiscent of Jeff Beck’s Blow by Blow. But, this album balances the rigid instrumental jazz tracks with melody and warm tones, such as on “Emerald Green”.  The album even explores elements of Americana in “Curfew”. This second solo album explores the many influences that have come to define Jimmy Herring. The title Subject To Change Without Notice may even hint towards the various genres that appear and dissolve throughout the album. The Jimmy Herring Band is out on tour now supporting the album. Be sure to catch him live rephrasing classic jazz fusion, and at times, speaking a language all his own.Click Here for a Behind the Scenes, courtesy of Abstract Logix.Click on the Grateful Web’s interview by Dylan Muhlberg, for more with Jimmy Herring. And check back for our live review when Jimmy Herring tours Colorado.

Jimmy Herring Band kicked off the 2012 Subject to Change Without Notice Tour at the Aggie Theater in Fort Collins, CO, this August 22. Herring took the stage with an instrumental ensemble featuring members Jeff Sipe AKA “The Apartment Q-258″ (Drums), Matt Slocum (Piano/Keyboards), and Neal Fountain (Bass).  All of the skilled members are accomplished musicians in their own right, and past projects have introduced them to each other musically. Fountain explains, “You gravitate towards people who speak your language.”  On this stellar opening night at the Aggie, this gravity exerted a tour de force. 

It’s no surprise that after 40 years, Jimmy Herring can play the guitar. In fact, Post It should sponsor this guy he goes through so many notes. But the real interest is the bands collective sound. Opening nights are meant to knock off some of the rust, but barring a few technical inconsistencies it was a great show. Remember that the album featured artists, Bill Evans, Béla Fleck, Etienne Mbappe, Nicky Sanders, and his son Carter Herring. However, they aren’t on tour, so some songs are being reworked. As this tour progresses, they will only continue to get tighter. Original songs like “Aberdeen” have Fountain playing on them, and he brings his own talents.

The Aggie was filled with eager fans, some screaming for Panic. But don’t be that guy. This is the Jimmy Herring Band, think Classic Jazz, Jazz Fusion, Rock, and Jam Band genres. And though they will cover the Mahavishnu Orchestra’s “Hope”, George Harrison’s “Within You, Without You” and Jimmy McGriff’s “Miss Poopie”, expect to enjoy a night of original instrumental music that is filled with emotion and musical intonation.

Interview

After the Show, Grateful Web spoke with Bass Player, Neal Fountain.

GW: Great show tonight, and thanks for taking some time to speak with us. Tonight kicks off a new tour, what was the reasoning for starting the tour in Colorado?

NF: Colorado as a state has a lot of prime venues we can play, such as Boulder or Telluride . We have a few shows lined up, like an opener for Los Lobos. The Aggie in Ft Collins is a great place to play with a great sound.

GW: Tonight was the first show of the tour, a first opportunity to play the new material in front of an audience…

NF: You never know, you can rehearse day in day out but you think about songs differently when you have a set list, a continuous show. You think about transitions, how you start a song and end it.

GW: Do you have any favorites on the new album?

NF: A Gospel tune “Aberdeen” that we played tonight and “Emerald Green”, a ballad. Originally, I didn’t play on either. Etienne Mbappe played on them. Also, I really like “Utensil Ocean” which is on the UK release.

GW: What’s the dynamics in the studio, does everyone have a voice? How do you go about recording?

NF: Jimmy never tells me specifics on what he wants me to play. You hire musician that you like the way they play and you write tunes around what you think they will bring to the table. He writes sections for himself, that’s where he wants to express his thing. Those sections are taken as written, and we play with him.

NF: It’s a language, and you hire people to play on your record, and associate musically with people who speak the same language that you do. You gravitate towards people who speak your language. Music is the same thing, it doesn’t have those same boundaries because it’s abstract, but it’s the same.

Extra:

For more with Jimmy Herring, Click on the Grateful Web’s interview by Dylan Muhlberg, or read about the album, here.

Click Here for a Behind the Scenes, courtesy of Abstract Logix.

https://plus.google.com/u/0/100799998006757324803/posts?rel=author

Steamy keys, gritty six string, soul drenched stomp. Black Cadillac music, back ally marque blue. Greasy chops deep-fried in fatback. Kick drum with fist on the pulpit thuds, and a cymbal’s smooth splash…riding it…smoky with a hairy funk. That almost covers the sound of the Alan Evans Trio.

Alan Evans Trio is on tour in support of their debut album, Drop Hop (April 2012). Co-founder, writer and drummer of Soulive, Alan Evans reached out to good friends Danny Mayer (guitar) and Beau Sasser (organ) to play on this new project with Royal Family Records. On a warm August night at Hodi’s Halfnote in Fort Collins, Co, AE3 took the stage and brought the heat. The trio ran through several instrumentals raunchy with ’70’s funk.

AE3 is the brain-child of Alan Evans, but on tracks like “Check Your Lugnuts” and “The Meter’s Runnin’”, it is apparent Mayer and Sasser aren’t taking a backseat on this tour. While on the road, this trio has grown more familiar with one another’s talents than on the day they first met in the studio to record Drop Hop. Together, they evoke the soulful grooves of an earlier era. Yet, they also steer freely through musical genres. On “Crooooz” AE3 pulls from sounds reminiscent of fusion jazz, with intricate drum breaks and playful organ fills. To accent Evans’ acumen, Mayer and Sasser display a wide range of musical ability on the album. However, their live improvisational solos on songs like “Whistlin’ Willie” are jaw dropping. If you love digging through dusty crates of old funk and soul albums, this is a must-see show!

Before the show, Grateful Web hung-out with AE3 backstage and talked about the tour…How they formed, where they are headed, and what the may discover along the way.

Backstage Interview w/ Alan Evans Trio

GW: Thanks for taking the time to speak with me, I am just going to jump right in…Where did you start with the tour, where do you finish, and what do you hope to achieve in between?

Evans: We started in LA, working our way up the coast, Santa Cruz, San Francisco, Portland, Arcadia. We are out for 6 weeks. We are planning to record another album sometime after the tour, so we are playing some new tunes live. We are hoping to flush out the new material for the album.

GW: together for Drop Hop, with this new material, is it something you are trying to write together. Or how do you approach this new material?

Mayer: It’s all Alan.

Sasser: That’s a great question. It really is stemming from the mind of Al. It will be different because we will have first crack at the tunes live.

Evans: That's the thing, before going into the studio to record Drop Hop; I actually recorded all the tunes myself and sent them to these cats to learn before we got together. Some of the parts like some of the bass guitar we left, and kind of just added to it. So the nice thing about here is, well.. I kind of did the same thing. I recorded all the new tunes I have written and sent it to these cats to check out. What’s going to be nice about this time around is… I mean… literally the day these guys meet was the first day of recording Drop Hop. So now it’s different. We are on the road and hanging out playing the new tunes, then going to the studio. So it's a different approach.

GW: Danny, do you think with this new approach, you will have more of your voice on the album? It seems like it is a more conversational tone or approach musically, and conversations have a way to leading into new areas.

Mayer: I think he new what he was doing when he got me on board, our voices aren’t really that different. Alan produced a record for my other band, On the Spot Trio. Everything he is playing on the guitar is what I love to play, so it didn't feel like it wasn't my voice. I’ve been listing to his music for 12-13 years through Soulive and his own stuff, so I’m pretty familiar with his ideas. But again, a big portion of the tunes is improvising with solos, so I get to say whatever is on my mind. The cool thing about being able play the tunes live over and over again, Beau and I are starting to connect with the tunes in are own way while still keeping the integrity of the idea.

GW: Going into material, whether written or recorded, how is it structured?

Evans: I’m very particular about melody and harmony of the song, but there is room within it for everyone to do their thing but still have the structure, the actual song to come back to.

GW: Do you have a date for the new material?

Evans: Honestly, no. This time we are going to record it and throw it in the can, and wait. The thing is we just got this last one out. The band just got together in February, dropped the album, did one tour in spring, and now we are out on this tour. What we want to do is end this chapter of the band with a live album or EP. I'd like to put the album out like I did with my last solo album, out on Bandcamp. And you can pay what ever you want.

GW: That seems to be the way artists are going, does this translate or is there an advantage to putting it out there with fewer barriers to the album?

Evans: I’ve wanted to do it for years, and I did it on my last album because I recorded it all myself with a couple friends. Why not, if someone wants some music and can’t afford it? I noticed some people paid more than what a label would of charged for it. I think it is just about getting music out there and trying to get people to come out and see us live.

GW: With the new material being hashed out on tour, as a trio. Do you foresee other artists sitting in with specific pieces that audience may not see during the tour but may hear eventually on the next album?

Evans: Actually on Drop Hop, {we had some guest players}… but I don't have any intentions of adding members. It’s hard to say, Beau has a Univox keyboard, so on the next album we want to expand with tones, but that is between the three of us and we will just do our thing live.

GW: Beau, having different instruments, have you seen your influence to express yourself within the trio, have you seen it lead the sound in different directions?

Sasser: On Drop Hop, we only really used the organ, so it will really be interesting to bring it out and try a few new things. Its funny, this Univox keyboard we were talking about is kind of this 1970’s analogue keyboard used by a lot of different bands back then. We were listening in the van to Black Heat and they were using it. So, as we roll along listening to music, that's how we get a lot of ideas. Like “That sounds great! Hey, I might have that keyboard.” I’m sure we will discover a few more along the way…

For more information visit: Official Alan Evans Trio Website.

Alan Evans Trio on Tour

9/5 - Evanston, IL - Evanston SPACE

9/6 - Columbus, OH - Woodlands Tavern

9/7 - Pittsburgh, PA - Club Cafe


9/8 - Hancock, NY - Catskill Chill Music Festival


9/9 - Fairfield, CT - Fairfield Theatre - Stage One

9/12 - Richmond, VA - Capital Ale House

9/13 - Wilmington, NC - The Soapbox Laundro-Lounge

9/14 - Athens, GA - New Earth Music Hall


9/15 - Black Mountain, NC - Pisgah Brewery


9/16 - Virginia Beach, VA - The Jewish Mother


9/19 - Vienna, VA - Jammin' Java


9/20 - Philadelphia, PA - Milkboy


9/21 - Portland, ME - State Theatre w / Soulive


9/23 - Burlington, VT - Nectar's


9/25 - Pawtucket, RI - The Met Cafe

ReaLifeActual of Fort Collins, CO, is an “up-and-coming” 6 piece instrumental jam band that implores electro dance beats to progressive rock. The result of RLA’s converging genres is a heady trance jam that transports audiences into a psychedelic accelerated landscape. Exploding onto the Colorado Jam scene, this native FoCo Band started in 2011 and is a musical conglomerate of Bart Mills, Matt Newhard (Trichome), Kyle VanBuskirk (Good Gravy), Aaron Holsapple (Cualli), Brandon Johnson and Matt Newhard (Velocyti Raptor).

RLA invited me out to Hodi’s Halfnote to meet the band and see why FoCo is all about keeping it local. After a solo opening performance by Aaron Holsapple playing under his DJ alias Cualli (played Sonic Bloom), ReaLifeActual took the stage, and were greeted by a robust crowd. Typical of Jam Bands, high energy and longevity drive their live performances. However, RLA’s sound draws from a variety of genres and results in an electronic infused rock that captivates the dance floor and fuels the audience to move. This exchange with the crowd is perhaps RLA’s most intriguing dynamic. There is a connection between RLA’s and their fanbase. Brandon Johnson explains “we like to talk to people before and after the shows and get to know everyone.” This intimacy translates into a raucous party once the band takes the stage.

The Hodi’s performance showcased RLA’s talents as an instrumental jam band with an ability to craft their own original sound while drawing on influences such as Umphrey’s McGee. (The band actually covered “Hajimashite” that evening.)  As RLA continues to tour and hone their live shows, they display the focus and potential to become a regional staple before releasing a first album. Recently, RLA played at famed Mishawaka Amphitheater supporting The Mickey Hart Band. This summer still offers several stops for you to get a glimpse of the Fort Collins 6 piece. If you are down in Bond for Ragin’ on the Rio, go by Deck Stage (6:30-8:30).

Special Sit ins for (7/28) show:
Evan Daldegan - Vocals (Trichome)
Mike Windham - Tenor Saxophone (Trichome)

Grateful Web went backstage to meet the band, and we are able to share this interview:

GW: Thanks for speaking with GW, I really enjoyed the show. Can you tell us how the band meet and eventually began playing together under the name RealifeActual?

RLA: The band started out with myself (Brandon), Bart, Matt, and Ryan all just kind of jamming around a while back at one of our houses. We were writing small parts that eventually evolved into full songs and we decided maybe we should do something with this. I had known Aaron from before as we worked together and we had him come play with us and he fit in so well we made him a part of the project. Kyle eventually just fell into place as the percussionist and we all formed ReaLifeActual.

GW: RLA is a 6 piece, that is a lot of personalities and musical backgrounds. How has your overall sound progressed as you’ve incorporated each members distinct voice?

RLA: We all came from different backgrounds as musicians. Matt, Ryan, and I had played music many times before but never in a serious setting like we do now. Bart had more of a reggae background and was still new to the bass when we started and Aaron had already been doing his Dj/producer thing. We all kind of had these backgrounds that were different as far as what we played in before how we practiced and what kind of ideas flowed. We started piecing things together and really getting comfortable with each others styles. We continue to use each persons background and knowledge to build these songs and needless to say have a lot of fun in doing so.

GW: You have a great hometown support, how long have you been playing together? Also, how have you connected to your audience over that time?

RLA: We have been playing together as ReaLifeActual for just under two years. Our first show together was January 2011 and thats when we decided that “Hey we have something here I think we should take it forward”. We do in fact have excellent hometown support and we love all of friends, family, and fans that continue to support us. We are all very personable guys and like to go out and have fun and see good music just as much as the next person. We like to talk to people before and after the shows and get to know everyone that we can. What we want is to put on an amazing show for everyone every time. We always look forward to sharing our music with current fans but it is always great to hear “That was amazing I never have seen you guys before. I will definitely be checking you guys out again!”

GW: Your set list was filled with a lot of great instrumental originals, is RLA looking to record anytime soon or do find yourselves still evolving as a jam band?

RLA: We are currently set to begin recording this fall and hopefully have a nice EP out around the beginning of next year. We have been writing so much music this past year we have been wanting to get songs ready to record that really showcase the band’s entire sound. We put so much energy and switch musical styles so much when we play live that we want a recording that can capture all of that in a controlled studio setting and I think we are ready to do so.

GW: With all the different members working on other projects, is it a distraction or contribute to RLA’s sound?

RLA: I think that it really contributes overall to RLA’s sound. Playing and locking in songs with RLA is very important to us but the fact that we all go out and play with other bands and musicians all the time, I think really helps us stay on top of our game. We all support each other’s other projects fully and RLA brings in a little taste of them in our music as well.

Listen to RLA Live at the Aggie Theater 9-15-2011

More info at: reverbnation.com/realifeactual

ReaLifeActual  upcoming shows:

9/7- Bond, Ragin’ on the Rio (Deck Stage)
9/22 - Denver, Cervantes Other Side, Supporting Gravity A

Find out more: http://www.facebook.com/realifeactual

This November 11, Boulder, Colorado’s Fox Theatre hosted Xavier Rudd, one of Australia’s most iconic voices, for the last American stop along his Spirit Bird Tour. Behind his custom drum set equipped with two didgeridoos, Xavier Rudd appeared like a mythic creature from an aborigine creation story. Rudd embodied the totem spirit vision as half-man and ecstatic bird with colossal tusks.

The opening act, Yeshe, combines world music and folk to tell a story of his own traveling. Based largely in African heritage, Yeshe manages to relate his own personal journey as a Germany born musician. Most recently acknowledged for ‘Peace Of Mind’ on the Roots & Wings, which was voted Number One on Billboard’s World category, Yeshe continues to cultivate a cross-cultural sound. Yeshe centers most of his songs on the instrument called a Mbira, (a wooden board on which metal keys are arranged and fitted into a resonator).  As if to fend off the winter outside the doors of the Fox Theater, Yeshe provided an African rendition of the classic George Gershwin’s ‘Summertime’. He later returned to the stage for collaboration with Rudd. This was a heartfelt moment for both musicians, as it marked the last time they would take the stage together along the Spirit Bird Tour.

'Lioness Eyes’ opened the audience to the dexterity and sheer energy of Xavier Rudd’s music. However, the evening was a balance between socially conscious acoustic songs and the more primal rhythms of his drum and indigenous yidaki (Aboriginal word for didgeridoo). The Spirit Bird Tour is comprised mainly of songs from Rudd’s 7th studio album released this past summer, intertwined with fan favorites like ‘Come Let Go’ and ‘Food in the Belly’. In chorus with the call-and-response notable on the studio Spirit Bird, Xavier Rudd often invited the crowd to participate. The chants filled the sold-out Fox Theatre, at once ceremonial and jubilant.  What struck me about Rudd as an artist was his inclusion of several instruments and his ability to play them proficiently. Many were string-based instruments, similar to a guitar (like the Weissenborn inspired lap steel) that accompany him on several albums. Local artist and special guest, Beth Preston came out on stage with Rudd.  Preston was the background vocalist on Messages off the Rudd’s sixth album “Food in the Belly", released in 2005.

Beyond a multi-instrumentalist, Xavier Rudd is known as a world class surfer, animal rights activist and nature conservationist. Before closing the evening, Rudd sang the acapella, A Poem, which calls attention to the many plights facing the current condition of man and nature. Has a vocalist, Rudd exudes a comfort and range within a gritty, earthy voice that reveals a true passion for his message.  He Encored with Spirit Bird which drew the crowd in to a state of euphoria.  After the show he danced with the crowd, fully-man, before slipping backstage.

Please visit the Xavier Rudd website to find more information regarding his tour.

Read the Spirit Bird Album Review

2012 saw the release of critically acclaimed album A Thing Called Divine Fits, by what, ostensibly, could be called a “super-group.”  Divine Fits is the new project comprised of Britt Daniel (Spoon), Dan Boeckner (Handsome Furs/Wolf Parade), Sam Brown (New Bomb Turks) and keyboardist Alex Fische. A Thing Called Divine Fits was recorded in March/May 2012 on Merge Records and was produced by Nick Launay (who has worked with Talking Heads, Arcade Fire, and Nick Cave and the Bad Seeds).

Divine Fits are a multi-genre act blending Rock, New Wave, Punk, and Pop. If you are just picking through the album looking for Spoon tracks, you might as well go to “Flaggin a Ride”. Written by Britt Danial and featuring him on vocals, this is as close as it gets. But, Dan Boeckener seems to be the creative force behind this album. And many of the collaborations like “What Gets You Alone” and “Would That Not Be Nice” provide the overall tone of the album and will most likely be the cause of ecstatic fits by the general audience and critics.

“Like Ice Cream” is the quintessential rock song, injecting sexual innuendo into seemingly innocent or nostalgic archetypes.  Daniel’s lyrics are provocative, “Whisper it to me the way that you want me” and “I coulda took all night-she waited for me like ice cream.” My pick for 80’s anthem on the album? It has to be “Baby Get Worse,” a synth-bass driven tour de force. But, Divine Fits reach to the other side of the keyboard with "Civilian Stripes," an acoustic interlude that offers a reprieve from the stage lights and explores the “quiet life” brooding, “You know you can always leave, when the curtain drops and you get tired.”

Is this band for real? Whether this “super-group” is a flash in the pan or here for multiple albums, Divine Fits are currently on tour as a unit. Neither Daniel nor Boeckner have suggested that you will not hear more from this outfit. Grateful Web still suggests seeing Divine Fits live while they come through Colorado this December.  Find them On Tour.

An Awesome Wave, the debut release by British quartet, ∆ (pronounced Alt-J) is instantly a highly prized band by fans and critics. Perhaps “instantly” isn’t the right word to describe An Awesome Wave. Alt-J was formed back in 2007. The four members met at Leeds University: Gwil Sainsbury (guitarist/bassist), Joe Newman (guitar/vocals), Gus Unger-Hamilton (keyboards) and Thom Green (drums).   An Awesome Wave was actually five years in the making, recently released by Infectious Music on September 2012* (US). “Alt-J” is the keystroke for the Greek letter delta or ∆ which science and mathematics use to describe change, as the notation of derivatives and differentials.

Alt-J is an “art rock” band who dabbles in experimental pop with an indie bent. An Awesome Wave sounds like collaboration between Radiohead and Mumford and Sons. Which is by all means a compliment to the music of Alt-J, who is the winner of this year’s Barclaycard Mercury Prize. The album is erudite and references popular films and literature. For example, “Breezeblocks” is based on Maurice Sendak's Where the Wild Things Are, with corresponding lyrics to Sendak’s line, 'Oh, please don't go—we'll eat you up—we love you so!'

An Awesome Wave offers the geometrically melodic electronica, “Tessellate” (official video). With the video, again Alt-J references art, this time Italian Renaissance artist Raphael’s “The School of Athens.” It’s fair to say Alt-J implores elements similar to the Imagism of Ezra Pound, who wrote under a pseudonym in the March 1913 issue of Poetry, Pound's note opened with a definition of an image, "that which presents an intellectual and emotional complex in an instant of time." Perhaps “instantly” is the right word to describe An Awesome Wave, reason behind their music and the image ∆.

Looking ahead, “An Awesome Wave” Tour will be in Denver at the Bluebird Theater on April 3^rd, or find Alt-J on tour.

*released, May 2012 in Europe

As in all great Western movies, the hero is dark and nebulous. He rides through town morally ambiguous. On his heels, a shadowy past in pursuit like squalid curs nipping at his boot straps. He goes by NYM. Rumor has it he “captured an orphaned farmhand’s ragged cry for justice in a chipped whiskey bottle and drank it.”  Currently residing in San Francisco, NYM is a self-produced, experimental instrumentalist who is both imaginative and talented. NYM explains his album "Warm Blooded Lizard" (Feb. 2011) is “inspired by the music and emotions of the spaghetti western film genre, contrasted with the presence and attitude of instrumental hip hop.”

Warm Blooded Lizard is cinematic-hop, a concept album composed of cagey samples from vinyl to VHS with live recordings. NYM credits the legendary Italian film director and screen writer, Sergio Leone and Ennio Morricone an Italian composer and conductor, who wrote the music for Leone’s “Dollars Trilogy.” NYM also worked with long-time friend and collaborator, Emancipator (Loci Records) on select tracks, “Derecho” and “Thistle.” Often in Westerns, the dusty voiced hero is laconic. On Warm Blood Lizard, only “Bandida” offer the audience verses from NYM. This track and “Hanging,” where NYM is accompanied by female vocalist, Kathleen Drake who provides the vocal caricature of a frontier, forlorn love.

Warm Blooded Lizard was not the only Spaghetti Western-inspired genre album that year, remember Danger Mouse and Daniele Luppi’s Rome (May, 2011). However, NYM’s concept album is more robust. Warm Blooded Lizard musically explores the Western film genre, and reimagines it. The American Film Institute defines Western film as “a genre of films set in the American West that embodies the spirit, the struggle and the demise of the new frontier.” NYM reinterprets the new frontier, and exposes an electronic soundscape full of crags, valleys, and mad villains. “Lesser Known Good” concludes the album, perhaps best representing what NYM intended, “I want my songs to have the weathered face of a travelling gunman and the heart of a mourning dove.”

Listen to the Warm Blooded Lizard

Grateful Web’s Interview with NYM

GW: NYM, thanks for agreeing to speak with the Grateful Web regarding your self-produced album, Warm Blooded Lizard. First off, I just want to say… Wow, you have blown me away; this is one of the most imaginative, adventurous, detailed albums I have heard in a long time. The album is an epic journey, but for you, where and how did it begin?

NYM: Rumor has it that I captured an orphaned farmhand’s ragged cry for justice in a chipped whiskey bottle and drank it.

I grew up listening to my parents’ folk music – lots of acoustic stuff, Joan Baez, and the like. Intense emotion with haunting and mournful melody. That stuck with me. I wanted to create songs that would drag ancient feelings out of my memory. This seemed at odds with a lot of conventional hip hop, even the instrumental stuff. I feel like a lot of the genre plays it very, very safe and plays emotion close to the chest. This is not an option for me.

GW: Warm Blooded Lizard is an ode to the Spaghetti Western, you implore traditional hip-hop and trip-hop elements with cinematic samples to create a ballad or story. In your own words, what is the synopsis of Warm Blooded Lizard?

NYM: Hah. The songs are certainly filmscore material, but I’ve never put an actual story behind any of them. Only images and emotions. When I write music, I am doing my best to create and describe a real physical “space” or “room” that exists in my head…you’ll hear me describe my stuff as “strange room hip hop” even though it makes no sense. It’s like a shoebox diorama or snow globe. You’re an outsider looking into some weird enclosed space – in this case, a space where the air trembles to the tune of a campfire guitar or crackles with gunfire. That’s the best way I can explain it. I think the rest of my catalog (and my upcoming projects) will help to clarify this description.

GW: RZA of The WU- Tang is famous for merging Music and Martial Arts movies. You have reinterpreted this concept to merge Music and Westerns. Has his use of sampling served as an influence on your sound? Or is it just a correlation, not causation? Who would you say are your musical influences, any recommendations for further listening?

NYM: I’ve been told that my music would work well in a Quentin Tarrantino movie.

Comparisons to RZA have come up sometimes. They’re more apt than I was initially aware of. We both start with one genre and bend it to something else. Then, the image builds itself, even if the end result isn’t remotely in line with the original source. Kung fu or six shooters provide reference, listener imagination does the rest. It’s kind of like tricking someone to write a good story and then claiming credit for it.

I think RZA and I found ourselves drawn to the same happy coincidence – you can stray long and far from your original concept as long as you frame your song in the right way. The bleakest song from “Warm Blooded Lizard” is “Forlorn Hope” – a song that only became “western” when I realized how strongly influenced it was by my then-obsessive researching of the Donner Party.

GW: We talked about musical influence, but I have to ask...how many Westerns have you watched? And of course, what are some of your favorites?

NYM: I’ve watched a lot of westerns—no idea how many exactly. Amusingly, there are still some iconic ones that I have not seen: “Once Upon a Time in the West” for example. For a while, I’d put them one and just listen for quotes. I am also fond of the old radio show “Gunsmoke.” I spent a lot of time walking around San Francisco listening to different episodes of “Gunsmoke.” Some of my favorite quotes came from that one.

I don’t like the John Wayne/American ones that much. They lack almost everything about a proper Western film that I like and trade it for cheese. The good guy is too good, the bad guy isn’t bad enough, and the music is embarrassingly out of touch with the action onscreen. They sacrifice the lawlessness and brutality of the time for fuzzy feelings. It’s a completely different genre than the dusty films that I studied.

Some of my favorites… “Death Rides a Horse” is excellent, as is “God Forgives – I don’t” and “Django.” Of the “Dollars” trilogy, my favorite is “For a Few Dollars More.” El Indio is probably one of the best western villains I’ve ever seen. He’s out of his goddamn mind.

GW: This concept album is an ambitious endeavor, you literally blended hundreds to thousands of samples from vinyl, CD, VHS and DVD to create your story. Who long did it take you?

NYM: The oldest song on Warm Blooded Lizard is “Rats!” or maybe the beat for “Bandida” … or maybe even “Right Here and Now.” Early versions of those came to be back in 2006. Often I create something that I am not yet mature enough to finish. I work very slowly on some songs – other, I’ll finish in a weekend.

GW: I saw you held a Western Outlaw Name-off Competition on your Facebook page. You also regularly interact with your fans on Youtube and SoundCloud. How has social networking helped you to reach new fans and other musicians?

NYM: It’s been key. I am not an aggressive promoter, so it’s been fun to see material that I released a while back making some real ripples. I receive so much positive feedback from my fans. They keep me dedicated and help me prioritize the rest of my life around my music. I tremble when I read a Youtube comment on “Lesser Known Good” and a listener informs me that their “heart just exploded,” or that they got chills. It blows my mind, just knowing that in every minute of every day, someone is listening to my music.

GW: Outside of Warm Blooded Lizard, what other projects have you or are you involved with?

NYM: I released “Edge City,” my first instrumental album, in 2006. It’s a very different sound – quirky boom bap style hip hop. The vibe of that album is best described as stumbling through a dusty old attic full of questionably broken windup toys and moth-eaten clothing. The time in between 2006 and 2012 was spent growing up, moving to California, and serving the less fortunate for a couple years.

GW: I see you remixed Emancipator’s “Anthem.”  He also worked with you on “Thistle” from Warm Blooded Lizard. I’ve heard you guys go way back, what is it like working with a childhood friend?

NYM: You couldn’t hope for a better contemporary than Emancipator. Aside from the tremendous music he has made and his contribution of guitar to my work, he gives me great hope for the future of the genre and for the feasibility of long-term success for its musicians. I look forward to his new label, Loci records, which recently released Tor’s badass debut album.

Remixing “Anthem” was hard work! I came at that song maybe five different times from a different angle and found myself simply recreating it again and again. Finally, I had to scrap it and start from scratch, then blend my own song into Emancipator’s masterpiece. I’m very happy with the result and with the exposure that it got me.

GW: Thanks again for speaking with Grateful Web. Also, I just want to offer a place to address your fans, is there anything you’d like to say to them regarding this album or upcoming projects?

NYM: First of all, thank you. Yall are the best fans a fella could want. Please help spread the word about my music so that I can truly make this my life’s work – I’m so close! I have two projects going on right now, both of which are nearing completion, so you don’t have long to wait for the new stuff. The proceeds of my next album, “A Trembling in the Stone,” will go to secular US and international charities.

When these projects drop, I am counting on you to share them to any and all friends of discerning taste and questionable moral character. This will be my first opportunity to use my music to do some serious and quantifiable good in this world – I hope you will be with me.

GNU’s subterranean FoCo sanctuary is a creative playground offering Art exhibits, artist workshops, benefits for many artists and organizations. Voted Westword 2012 “Best DIY Music Venue – Ft. Collins,” GNU Experience Gallery’s is an eccentric array of interactive experiences, which include performance art, films, comedy, and musical performances.

The Shook Twins, Katelyn and Laurie Shook, along with Anna Tivel and Niko Daoussis form this rendition of Portland’s quirky quartet. The Shook Twins eclectic instrumentation includes banjo, telephone, guitar, beatbox, violin and their wonky golden egg. Their sound weaves harmonies, layered upon thumping percussions perpetuated by Laurie’s looping machine. Katelyn’s repurposed telephone microphone allows her to sound like a reverb cherubim, creating an eclectic and electric blend of whimsical folk.

The Shook Twins were in Denver, Ft. Collins, and Boulder in support of their sophomore release, Window. Grateful Web reviewed this album last May before the editions of Anna and Niko, so it I was excited to see them live. All of the fun and joviality that you would expect from the album was embodied on stage. All the Laughter and spontaneity between songs that you would expect between twin sisters pulled the crowd into the conversation aided by an already intimate Gnu venue.

As would be expected from a young band, the material itself is playful and upbeat. And, as you would expect from a young band, the repertoire of songs are limited in variety (if not in scope). 

Many songs in the set list were played the following night in Boulder. However, each song remains poignant and appealing due to the powerful harmonies. The night showcased the title track “Window,” “Shine On,” as well as “Rose,” which has gained notoriety from rotation on NPR. The audience, like myself, was most likely stunned by the soft yet powerful voice of Anna Tival (Anna and the Underbelly). “Rosy-Colored Skulls” is a little monster of a song, and Anna’s gentle voice resonates with emotion making each lyric seem intuitive and immediately personal.

The Gnu Gallery is the collective unconscious of Ft. Collins. And my new favorite place to go for eclectic artists. The Shook Twins were a perfect fit for the venue and performed a well-crafted set of frolic and romp. Click here for more info and touring dates.

Check out more photos from the show.

Colorado celebrates the newest summer festival! ARISE Music Festival at Sunrise Ranch in Loveland, Colorado is a “music, activation and co-creative camping festival.” Arise is an acronym that stands for Activate|Reconnect|Interact|Synchronice|Empower.

The inaugural will host a diverse line-up on 5 stages. Included, there is a 400 seat domed theater to present internationally recognized speakers, screen films, host dynamic panel discussions and workshops. “The music is like the fire …. and we all gather around it to warm our souls” says Paul Bassis, Producer of ARISE.  This festival will host over 100 bands, DJs, presenters, artists, activists, theme camps and film makers.

The Arise line-up includes headliners such as, Xavier Rudd, Chali 2na, Zap Mama, Keller & The Keels, Gregory Alan Isakov, as well as upcoming artists like Nahko and Medicine for the People. Theme camps provide creative communities like Hemp Village, Kids Village and Organic Food designed to allow for interests in clothing, food, yoga, visionary art, or Craft Beer.

Arise Music Festival will be held August 14th-18th, 2013. Check here for more ticket information or stay updated on social.

Festivaaal! Polyethnic Cajun Slamgrass giants, Leftover Salmon brought the sauce to Fort Collins’ Aggie Theater this April. The Americana, string-based, electric bluegrass band is on Spring Tour in support of the 2012 release Aquatic Hitchhiker (produced by Steve Berlin on Los Records.) Members include: Vince Herman (co-founder, singer, guitarist and washboard player) Drew Emmitt (co-founder, singer, guitarist, fiddle and mandolin player) Andy Thorn (banjo, vocals, also Emmitt-Nershi Band) Greg Garrison (Bass, Vocals) Jose Martinez (Drums).

The crowd stretch south lined down the sidewalk along College Avenue. Heady anticipation rose as the audience approached the glowing marquee of the Aggie Theater. “The time is right for this band to come back” says Emmitt. He was referring to last year’s album release. But one look at the Saturday night crowd, and you would think he was talking directly to the FoCo community.  The place was packed! Slowly, from the sidewalk-past the soundboard, u(p)stream- stretching to the stage. We had reached the musical headwaters of tonight’s Salmon concert. They opened with “Liza > Gulf of Mexico,” both off of Aquatic Hitchhiker.

Salmon churned out Voodoo Queen Marie by the 60’s psychedelic folk band, The Holy Modal Rounders. With the intensity up, Salmon lead into “Aquatic Hitchhiker,” the title track penned by former RockyGrass Banjo Contest winner Andy Thorn. “Andy’s a real young guy with a lot of great energy” says Herman, “there’s just something intangible about playing with Andy that kind of makes Drew and I look at each other and grin.”  That intangible energy gave the audience a gigantic grin too. (A guy next to me said, “the floor is trying to steal my shoes, they keep sticking.” I tried to tell him that they just got melted along with his face.)

Aquatic Hitchhiker is Salmon’s first record in eight years and first all-original material, many played this evening. But in between the originals, Salmon welcomed on Johnny Hickman of Cracker to play a series of covers: “Little Maggie” (Stanley Brothers)> “Lonesome Johnny” (O' Cracker Where Art Thou?) > “Danger Man” (David Bromberg -Wanted Dead or Alive). Martinez also welcomed multiple guest percussionists^ on to the stage for a drum solo tucked into Booboo.

The second set was a confluence of calypso, jazz grass, and rock. A “New Grass Revival” with a heavy rain pouring outside the theater. Herman acknowledged the weather as a perfect time to go into “Light Behind the Rain.” It was perhaps the apex of the night. Emmitt’s electric guitar transcended the speakers and swelled in the open space just below the ceiling, it was an amazing moment so many Salmon fans had been waiting for. The energy of 1993,that Emmitt and Herman acknowledge has returned with Thorn and this recent album release after a long hiatus.

The encore turned the Aggie upside down. While not a cover, “Dance on Your Head” seems derivative of jazz icon, *Ornette Coleman’s Album “Dancing in Your Head,” (beyond the nominal correlation) specifically the track "Theme From a Symphony."  Herman’s lyrics are upbeat and it is a dance favorite anytime they play it. Salmon closed the night with another nod to The Holy Modal Rounders, recognizable to many fans as Salmon’s 1997 title track, “Euphoria” before ending with a original song off that same release,  “River Rising.”

Leftover Salmon setlist at the Aggie 4/13/2013

SET 1
Liza
... Gulf of Mexico
Voodoo Queen Marie
Aquatic Hitchhiker
Gold Hill Line
Sing up to the Moon *
Morning Sun
Hi Way Song
Jokester *, #
Little Maggie
Lonesome Johnny **
Danger Man **

SET 2
Lets Give a Party
Here Comes the Night
Walking Shoes
Bend in the River
Light Behind the Rain
Ridin the L&N
The Other Side
Mr Wrong **
Baby Please **
Out in the Woods **
Railroad Blues **
Rivers Rising **
encore: Euphoria

* Alwyn on Drums & Percussion
# Alejandro Castano on drums & Percussion
** Johnny Hickman on Guitar & Vocals

^ (w/ guest percussionists Allman, Robinson, Alejandro?)
* GW fans may find it interesting that Jerry Garcia played guitar on three tracks from Coleman's Virgin Beauty (1988): "Three Wishes," "Singing In The Shower," and "Desert Players."

Get on the Bus! Pickin’ on the Poudre is the quintessential Mishawaka BOOMshakalaka! Awkward as that may seem to describe the Fort Collins bluegrass quartet Head for the Hills composed of Adam Kinghorn (Guitar), Michael Chappell (Mandolin), Joe Lessard (Fiddle), and Matt Loewen (Bass), it’s appropriate. For nine years, H4TH has blown away Cache la Poudre patrons with their acrobatic backwoods antics.

To the delight of the Mish, Northern Colorado’s drought is finally in remission and the Poudre River swells in the canyon. It is fitting that Pickin’ on the Poudre represent a reprisal of sorts. The opening of the Mishawaka signifies the seasonal return of music and the summer tour circuits. The annual celebration summons the FoCo faithful to the shoreline. The drought is over: get on the bus and Head for the Hills.

The Mishawaka Dance Hall was in full effect this May with special guests Mosey West and Drew Emmitt Trio. This special Drew Emmitt Trio is comprised of Drew Emmitt (Leftover Salmon), Andy Thorn (LOS), and Andy Hall (Infamous Stringdusters).  Let’s just get one thing straight, Andy Hall’s slide is so sick, I think I came down with a slight cough. Power Trio’s are usually reserved for Rock’n’Roll luminaries, but the bluegrass acumen on the stage was uncanny. And you guessed it, they all returned to the stage in the second set of H4TH’s second set.

Head for the Hills’ playing was so tight, to paraphrase Ferris Bueller, if you stuck a lump of coal up their…nevermind, they basically came out the studio with a diamond. They have labored over their new album Blue Ruin. It wasn’t lost on the Mish audience. H4TH performed several of their new songs like “Take Me Back”, “Never Does”, and personal favorite “Wish You Well”. And call me crazy but does “Scrap Metal” sound like Mary Poppins’ classic “Chim Chim Cheree”?

The Drew Emmitt Trio joined the stage for a classic bluegrass romp. Like last year, The Mish was the perfect primer for the July 9^th release of Blue Ruin. Find shows for Head for the Hills 2013 tour or join them on Facebook.

Check out more photos from the show.

The Sunshine City’s quartet, COPE keeps it in the family. This St. Petersburg/Tampa Bay band of brothers features Kenny Stadelman (bass), Dennis Stadelman (guitar and banjo), Michael Garrie (drums), and Juan Montero (keys and saxophone). COPE’s two recordings, “Going Home” and “See” are harbingers of their hairy funk, Southern jam, dance party prowess. Heady Highlights include the 2012 and 2013 opening nights of Wanee in Live Oak, FL, COPE helped kick off the Spirit of the Suwannee Music Park Festival famous for The Allman Brothers Band, Widespread Panic, Gov’t Mule and more. The family tradition continues during the 10^th Anniversary of Wanee on Wednesday, April 9^th.

The Southeastern Summer festival circuits have quickly become the stomping ground for COPE’s extended jams, spirited segues and organic grooves. Live audiences come hungry for “Juanjamon” Montero’s steamin’ fatback chops slopping thick rhythms. However, COPE’s sound is diverse and sophisticated. The band’s talents are focused on overlapping melodies or at times infusing elements of Reggae and Progressive Rock, Folk or even Jazz into a musical composition that is both exploratory and direct.

GW: COPE is gaining steam along the Eastern Seaboard. But for everyone out West, can you give us a little of COPE’s bio, the origin of the band’s name and some of the influences that go into your music?
 
COPE: Dennis and I started as young teens playing rock but inevitably started picking up on all of the music that was always around. We have influences that go from the Beatles to TalkingHeads, Grateful Dead to James Brown...Gram Parsons, Bill Monroe, Miles Davis, Stevie Ray..etc...we use music to get through the best and worst parts of life...Cope just seemed fitting...Kenny
 
GW: COPE has a respectable amount of original material, what is the creative process behind the words and music in the studio? Also, as a primarily live band, do you consider jam elements like leaving room for improvisation, etc.?
 
COPE: We have many ways that we create music...usually, one of us will bring in a mostly finished idea and we all tweak and arrange the parts. Other times, we brainstorm ideas ranging from a specific topic or event (lyrically)..and all chime in...letting the temperament of the content dictate the groove or flow of the song...typically we do allow space for improvisation as well as balance of composition....and a lot of dynamic...Kenny
 
GW: For the last two years COPE has helped kick off Wanee Music Festival. I’ve been to Wanee and that’s a spirited bunch. What do you guys bring to the stage for shows like that? How have you seen the crowd react and does that energy fuel your shows?
 

COPE: Wanee is always one of our favorite shows..in the past we have been on the main stage with no other artists overlapping our set...the audience is always fresh and ready to get down at the beginning of a festival and that energy is electrifying...it charges us up and music just flows effortlessly. A big show like that, we will usually like to bring a new song or two, to offer....cover or original, something fun and unexpected...kenny

GW: Summer is known for the festival/touring season, what are/have been some of the highlights for COPE?

COPE: We’ve played Camp Barefoot WV..Rootwire, Papadosio's fest in Ohio Bear Creek festival, Aura, Mantrabash in N.C, we have had the privilege of headlining the Gathering at Chaffees in Girard PA ...soooo many incredible people in every town...I have to say that our favorite little festival is one that we nearly consider our own little party..Orange Blossom Jamboree.......Kenny

GW: When COPE isn’t touring, are you guys out watching music? If so, who are some of the bands on your radar?

COPE: When we aren’t touring, we are usually found playing in side projects, acoustic shows or sitting in with friends...we don’t get to go out to see as much music for the sake of catching a show too often, but we do enjoy seeing our friends out and about. Personally, I enjoy bands like 'Cheese, Umphreys, Panic, Meters, Robert Earl Keen, David Grissman, etc.

GW: Well, thank you for taking the time to speak with Grateful Web! I like to leave a little room at the end of the interview for bands to speak directly to fans, and/or to new audiences. Basically, it’s just a chance to mention anything that we haven’t cover in our conversation.

COPE: Thank you for allowing us this medium and opportunity to speak to new folks!...we really are looking forward to getting out west and meeting y'all!..we have so many friends and family now in Colorado and it only makes sense that we make a stop there soon!..Kenny

Facebook: https://www.facebook.com/CopeMusic

Where/When:

Wanee on Wednesday, April 9th

Chatham County Line’s new album 'Tightrope' debuted at #3 on the Billboard Bluegrass Chart. North Carolina funambulists Dave Wilson, (Guitar, Harmonica, Vocal) John Teer, (Mandolin, Fiddle, Vocal) Chandler Holt (Banjo, Guitar, Vocal) and Greg Readling (Bass, Pedal Steel, Piano, Vocal) return to Colorado promoting their sixth studio album on Yep Roc. For over a decade, Chatham County Line has remained the same four members. However, each man has developed musically and personally. "There's a lot of growing up in this record," muses Wilson. This recent album balances the youthful exuberance and seasoned experience of CCL.

Wilson shares that the title track began as an instrumental written by Holt, “the chromatic banjo part suggested the image of a tightrope walker.” As the album developed out of CCL’s balanced musical approach, Wilson suggested Tightrope was metaphor of the band “walking this weird tightrope between bluegrass and acoustic music, creating this alternative folk country sound, and we choose to stay on our own narrow path.” This musical harmony is evident in the iconic “one mic” approach.

View the Official Video for Chatham County Line’s “Tightrope of Love”

Track list for Tightrope:

1. The Traveler
2. Should Have Known
3. Any Port in a Storm
4. Girl She Used to Be
5. Tightrope of Love
6. Sixteen Years
7. Love I Found
8. Hawk
9. Ships At Sea
10. Will You Still Love Me
11. Final Reward

Chatham County Line takes their act west this summer with several dates in Colorado including Palisade Bluegrass & Roots Festival before pulling the bus up to the legendary Telluride Bluegrass Festival where they will share the stage with Bluegrass giants like Sam Bush, Bela Fleck and Peter Rowan.

Chatham County Line on Tour in Colorado:

There is plenty more stops for the Tightrope Tour, find your city here.

Want to hear more about the album, checkout this interview with Chatham County Line.

Head For The Hills announce founding member, Michael Chappell (mandolin) will be say good bye to the band. Mike's final shows with Head for the Hills will be at WildFest in Old Snowmass, CO and YarmonyGrass in Bond, CO. Sam Parks (Bluegrass Delta Force) will be joining H4TH on the first leg of their fall tour, beginning in September.

The Band announced Michael’s departure to fans on Facebook at 2pm on Thursday, July 23:

Message From Head For The Hills:

“It is the beginning of a new chapter for Head for the Hills as we announce that we will soon bid farewell to one of our founding members and our dear friend, Mike Chappell. Saying goodbye to Mike as a band member is like parting ways with a member of our own family, one who has been with us every step of the way. We would like to thank you Mike for more than a decade of music and amazing memories. It has been a real privilege. We wish you and your family, Lauren and baby Harper, the absolute best in all you do together in life. We love you guys. Mike's final shows with Head for the Hills will be at WildFest in Old Snowmass, CO and YarmonyGrass in Bond, CO.

Moving forward, it is shaping up to be a huge fall for Head for the Hills as we go full throttle ahead with new music, a full fall touring schedule, and more shows to be announced. We are very excited to announce that mandolin player Sam Parks will be joining us on the first leg of our fall tour, beginning in September. Thanks to our incredible fans, friends, and family for your support! Onwards and upwards...”

-Head for the Hills
______________________

A message from Mike:

“For one third of my life on this planet I have played mandolin in Head for the Hills. The experiences that I have shared with Matt, Adam, Joe and on many occasions, James, are irreplaceable and will forever be some of the absolute best years of my life. The way the four of us came together is extremely serendipitous. This band has shaped me into the person I am today and will continue to influence the person I will become. I am thankful for every second that I have had the pleasure to grace the stage with these incredible people.

Over the last couple of years I have had a plethora of major life changes that have affected the amount of time I can devote to Head for the Hills. In the past year I have had a career opportunity that will greatly decrease the dedication that I can give to the band. It is with a heavy heart that I have decided to step away from Head for the Hills. I make this decision with the best intentions for the band and their future growth.

I want to give a huge thank you to the fans, friends and family that have supported Head for the Hills over the years. I have had an extremely fulfilling career in music and that is because of you. THANK YOU!

I want to close by sincerely thanking Matt, Adam, Joe and Sean for their unconditional love, support and understanding through this process. We are a family and we will always be a family. This has been one of the most difficult life decisions I have ever had to make but you have been there for me, like the brothers you are. I love you guys so much. I look forward to watching all of your future accomplishments and growth. I am so proud to have been a part of this and I cannot wait to see where this band goes next.

I love you guys for life.

Front Country plays Bay Area Bluegrass, a cross-genre jaunt spanning indie, folk, Americana and traditional bluegrass. Their sound is accessible for everyone. Front Country is Adam Roszkiewicz (MANDOLIN), Jacob Groopman (GUITAR, VOCALS), Melody Walker (VOCALS, GUITAR), Jordan Klein (BANJO, VOCALS), Leif Karlstrom (Violin), and Zach Sharpe (BASS). With the 2014 release of Sake of the Sound, Front Country is currently on their second national tour.

Front Country has quite the resume. They have won RockyGrass and Telluride bluegrass competitions, only the third band to win both, snagged a Merlefest writers win, and Mandolinist Roszkiewicz has been nominated for a Grammy. One album in, Front Country is winning over critics and fans coast to coast. Sake of the Sound has many original works including the “Undertaker,” “Old Country” and the title track “Sake of the Sound”. Additionally, Front Country has beautiful arrangements of traditionals, standards, and contemporary music. The album opens full steam with Gospel Train, an old-time spiritual many associate with Larry Sparks. Front Country covers the ubiquitous bluegrass of Utah Phillips’ “Rock Salt and Nails,” Bob Dylan’s “Long Ago, Far Away” Sarah Siskind’s “Lovin’s For Fools” and California Folk heroine Kate Wolf’s “Like a River”. And for all the Colorado fans of The Honey Dewdrops (“One Kind Word”), they will be touring through Colorful Colorado this September!

Front Country comes to the Front Range

In route to Fort Collins, Colorado to play the 3rd Annual Avograss Bluegrass Festival at Avogadro’s Number July 31 - August 2, Grateful Web had an opportunity to discuss Front County’s 2015 Summer Tour with Melody Walker.

GW: This 2015 Summer Tour has a lot of mile markers. I don’t just mean traveling  between festivals from Maine (Ossipee Valley Music Festival) to Oregon (Sisters Folk Fest). Front Country has been breaking new ground and reaching new fans. What are some of the highlights for all of you on this National Tour?

FC: Getting to play at Grey Fox for some of the Northeast's most hardcore modern roots music fans was a great opportunity. Those folks are so great, and many of them came out and saw us play the next week in Boston, NYC, and Maine. Also, getting to stop by the Relix  Magazine offices in midtown Manhattan and make a little live music video.

GW: Front Country is from the Bay Area in California, but Colorado appears to have become a second home. You even include a track title named Colorado in your 2104 release of Sake of the Sound. You’ve won Rockygrass and Telluride band competitions. How has Colorado and the artists you’ve met here influenced your approach to bluegrass?

FC: The Colorado bluegrass scene just seems to "get" us and the sound and vibe we are going for. The most important way Colorado has influenced the band has been by just accepting and embracing us with open arms. It's like we found our tribe and doing well in Colorado was kind of the first sign that we could leave California and tour nationally. Since we spend so much time here in CO, we end up absorbing a lot of the local bluegrass flavor, from spreading around the tunes that folks jam at RockyGrass (looking at you, "Salt Spring"), to incorporating the epic natural beauty of the mountains into our songwriting.

GW: Your first album has received wide acclaim from artists, such as Chris Pandolfi (Infamous Stringdusters), Woody Platt (Steep Canyon Rangers) and Tim Carbone (Railroad Earth). You’ve achieved so many accolades so early in your career. When you look back over the last 5 years or more, back when you were playing in San Francisco’s Mission District, could you have dreamed you would already be on your second national tour promoting your first studio album?

FC: I actually feel like it took us way too long to make our first full-length record. We had been a band for over three years before we even started recording "Sake of the Sound", and we only did our first national tour last fall. But yes, we started in 2011 as a very casual pickup band playing a monthly gig, first at a cafe in the Mission, then at "Free Bluegrass Mondays" at Amnesia on Valencia St, and we certainly didn't get together at all with the intention of making records, entering contests and touring. It all has happened rather organically and keeps on surprising us all the time. We have now transitioned into being a full-time band with a team behind us, and none of us saw that coming at all, but we are sure glad to be doing it.

GW: Later this Fall, Front Country heads to the UK. Is this your first International Tour? Any time for doing the tourist thing or is it all business?

FC: Yes! We are about to be able to call ourselves "international touring artists" this fall! I think it's going to be a hectic schedule with very little tourist time, but we will for sure be making the most of any extra time we have there, even if it's just to go to a local pub or see a castle. A couple of us are thinking of tacking an extra day or two onto the end to hang in London, since we will be flying out of Heathrow.

GW: With so many talented musicians and songwriters in Front Country, what was the process for arranging your album? The Sake of the Sound tracklist is coherent and flows front to back. Do you all bring song ideas into the studio and let them build organically, or how does the collaboration work?

FC: We start with very long email threads tossing ideas back and forth, sending along demos of originals or covers or friend's tunes, and then we set a rehearsal schedule to start playing around with the songs we have on the table. Once we start arranging them, we tend to just "know" which ones are working or not, and which ones we are extra excited about. The arranging process can be intense at times since everyone in the band has really strong ideas and opinions, but it has always been our forte somehow, and what comes out on the other side is Front Country music. Dynamic, textured, heartfelt and ultimately quite musical, we hope.

GW: July 31st, Front Country returns to Fort Collins for another night of Traditional Bluegrass, Progressive Bluegrass, Newgrass, Americana, Folk-Pop…Ha ha, your music encompasses so many elements. How do you describe the music of Front Country?

FC: Oh boy, this is the toughest question! Musicians tend to be pretty bad at describing their own music, and we are no exception. Keeping in mind that genres are fluid, we hang out somewhere between bluegrass and rock. We have toyed with the tagline "indie-grass," but love to hear suggestions from fans. I think they know a lot more about what we do than we do sometimes.

GW: Thanks for your time, and thanks for sharing your talents with the Grateful Web community. Before you get back to your Summer Tour, is there any news or thoughts you’d like to share with our readers?

FC: Well, I don't mind sharing that we are hanging out on the front range this whole next week recording our next project at a studio in Denver. It's a covers EP featuring a mix of well known and little-known songs that we did not write. We love the process of taking an old song and making it new again, so that's what we are up to next. Not sure on a release date yet, but folks can stay hip to the website or social media to stay in the loop. People can also sign up for our mailing list and get access to a bunch of live Front Country tracks we call the "Secret Stash."

Front Country on Tour, visit http://www.frontcountryband.com/tour

Colorado’s own, CORAL CREEK announces the release of a new, self-titled album slated for October 14, 2015. CORAL CREEK will support the new album with a Fall tour. This will be the first album by the Colorado-based Americana/Jamgrass band with keyboard player Bill McKay (Leftover Salmon, Derek Trucks Band).

CORAL CREEK is Chris Thompson (guitar, vocals), Bill McKay (keyboard), Rob Garland (bass) and Jack Watson (drums) with special guest, Luke Bulla (of Lyle Lovett’s Big Band), on fiddle. Since forming in 2010, CORAL CREEK is known for original music fusing genres of rock, country/bluegrass, cajun, folk and calypso music.

The album is produced by Tim Carbone (Railroad Earth) and features new original songs by Chris Thompson and Bill McKay, plus instrumental contributions by Andy Thorn (Leftover Salmon), Anders Beck (Greensky Bluegrass), Tim Carbon (Railroad Earth), Tyler Grant (Grant Farm), Arthur Lee Land (Great American Taxi), Scott Messersmith (formerly of The Motet) and Tanya Shylock (True Blue Band).

Album Release Tour Dates:

Cervantes in Denver (10/22)
Aggie Theatre in Fort Collins (10/21)
Owsley’s in Boulder (10/17)
Buffalo Rose in Golden (10/16)
Barkley Ballroom in Frisco (10/23)

For more info, visit: www.CoralCreek.net

After a successful fall tour, Trout Steak Revival was welcomed back home to Colorado at Hodi’s Half Note this October. The Denver Bluegrass Band is planted firmly in the Colorado’s beloved bluegrass scene. In addition to their first album, Trout Steal Revival has won the 2014 Telluride Bluegrass Festival Band Competition, placed in the 2012 Rockygrass Band Competition, and have won an Emmy Award for a soundtrack with Rocky Mountain PBS.

The opener was Bluegrass local, Blue Grama Bluegrass (Bouteloua gracilis ) who opened the night with a warm and lively set. A Fort Collins favorite, Blue Grama Bluegrass is a band to see in NoCo comprised of Sam Meunier (Guitar/Vocals), Katie Meunier (Washboard), David Jensen (Guitar), Lydia Azure (Violin), Michael Baute (Banjo), and Kenny Jones (Bass).

Trout Steak Revival’s first set was a fiddle infused hoot. Bevin Foley (Fiddle) took front stage for the majority of the set, while everyone Steve Foltz (Mandolin), Will Koster (Dobro) and (Casey Houlihan (Stand-up Bass) shared singing a few tunes. Travis McNamara (Banjo) was happy to see the Front Range after four months on the road. Trout Steak Revival broke into their ode to home, “Colorado River”.  The road has provided some time for writing new material. There is an air of highway music, the scenic, image rich lyrics that provide a musical narrative.

For those who haven’t listened to the band, the sound mixes warm textures with the clipped backbeat or chunking found in the music of blue grass pioneer and “snare drum beat innovator”, Bill Monroe. The members are all multi-instrumentalists and switch up instruments during the set. Bevin really stood out through the evening, her pizzicato (plucking) and legato bow work was a driving force that moved the crowd during songs like ‘Oklahoma.”

Trout Steak Revival will be opening for the Wood Brothers and Infamous Stringdusters on December 12^th in Denver at the Fillmore Auditorium.

Fruition rambled through the Front Range, high on the November 9^th release of the new EP, Holehearted Fools. The Portland Americana quintet performed 4 of the new 5 song EP recorded with Colorado friends, Grant Farm. Fruition is Jay Cobb Anderson (Lead Vocals, Acoustic Guitar), Kellen Asebroek (Piano, Vocals), Mimi Naja (Mandolin, Guitar, Vocals), Keith Simon (Electric Bass), and Tyler Thompson (Banjo, Stomp Box, Drums).

Fort Collins showed up for Fruition. The emerging Americana/bluegrass/rock genre hopping quintet continues to produce original music that is meant for a live experience. The song writing of Anderson, Naja, and Asebroek showcase a raw and honest catalogue of ballads, stompers and rock. Fruition’s harmonies were on full display at the Aggie Theater, starting with the opener Mountain Annie (Just One of those Nights).

Fruition and Grant Farm have been collaborating in Colorado since the 2014 EP release of Meeting On the Mountain. Tyler Grant, National Flatpicking Champion and member of Emmitt Nershi Band, and lead for Grant Farm. Grant joined Fruition with his Telecaster to close the Set with Random Lee and Never Again.

Fruition paid homage to Americana legend, Neil Young on his birthday by closing with Down By The River, Are You Ready for the Country, and Southern Man.

If you are headed to Avon for the 2016 WinterWonderGrass, Fruition will be playing Nottingham Park.

November 12, 2015 Aggie Theater SetList

MTN Annie
Wanter
Blue Light
Lay Down Blues*
Above the Line
Labor of Love
To the Band
Little Song*
I Can’t Stop
Some How, Some Way, Someday*
The Meaning
Til You Come
See You Everywhere
There She
Santa Fe
Fallin
Should Be
Meet Me on The Mountain
Random Lee^
Never Again

Encore
Down By The River
Are You Ready for the Country
Southern Man

*New Holehearted Fools EP
^ With Tyler Grant